Farzaneh Hosseini—On the Challenges of Being an Artist (original) (raw)
2024
Mojtaba Amini explores the dual roles of artists as creators and social commentators, highlighting the tension between artistic freedom and societal pressures and the influence of political power on creative expression. His work is closely connected to his personal experiences and the violent histories of the materials he uses, which serve as metaphors for larger societal issues. Amini also critiques the ignorance and absence of serious curators in Iran's art scene, pointing out that the dominance of galleries and commercial interests stifles true artistic expression and hinders significant artistic movements.
A Multimedia Artist in an Ever-changing World: An Interview with Samit Basu
Le Simplegadi, 2022
How did you start your career as a writer? What prompted you to undertake such a challenging life project? Samit Basu I started writing at the age of 22, in a somewhat dramatic fashion -I got the idea for what became my first novel while in my first month at a big Indian business school, and dropped out and went home to write it. Two years later, it was published by Penguin India. I was lucky, it sold well and reviewed well and was a bestseller for several months, which started me off on this career. This was in 2003-04, and it was still a time when the West was not interested in genre books from India, so it was several years later that I had novels published in the UK and the US. What prompted me... I had always wanted to do something creative for a living, though I did not know what it could be. India is still a very feudal, rigid society and most people still do not have much choice in what they do for work -they end up following conventional paths that are supposed to lead to financial success, social status, or immigration, ideally a combination of these. But around when I was in college, the country was changing, and for my generation it seemed possible to not go the doctor/engineer/lawyer/MBA route. I had no idea or opportunity to study the creative fields, but I had been a very enthusiastic participant in anything writing or performance related all through my childhood, and promised myself that if I ever had an idea that I thought was good enough to be a book, I would drop everything I was doing and work on that. That happened at an impractical time, but I decided to dive in when it did. EM Your debut novel, The Simoqin Prophecies, is probably the first science fiction fantasy book ever published in India. Can you tell us more about it? What about the readership's reaction?
Art, Community and Social Media in Maysaloun Faraj’s Contemporary Work
Intellect Discover: Journal of Contemporary Iraq & the Arab World Volume 17, Issue 1, Perspectives on Modern Iraqi Literature and Literary Figures , 2023
“The past two years have had their frightening stretches, but communities across the globe know how to work together to survive even this unprecedented pandemic. Recognizing and engaging such communities through art is a tribute to the necessity and relevance of artistic creativity across borders and circumstances.” (extract from this paper by Dr Shakir Mustafa)
Creative Encounters and Artistic Practices Sharmistha Saha Hakara20190602 80360 gc2d3o
http://www.hakara.in/sharmistha-saha/, 2018
The relationship of art to practice is not a result of an after thought. Rather art has its originary principle based in practice or to skillful practice to be more precise. This is what the etymology of the word art borrowed from early thirteenth century French suggests. However today when we think of the word art, it appears to us as that which has some kind of material manifestation. It is hence not the process or the practice but preempts a material being. The relationship of people then to art becomes that of consumption rather than a participatory play that emerges into possibilities. Here consumption presupposes a producer who is somewhat alienated from the consumer and the result is the artistic product. However, if we look at artistic practices as processes then we do not run the danger of this threefold alienation, which is that between the artist, the spectator and the artwork. The artwork results then out of an encounter within a volatile space. What do I mean by encounter here? Encounter is essentially a 'non-necessary chance' (Althusser), it is the randomness of origins
DO IT بالعربي, 2016
Principal theoretical essay examining relational aesthetics in the Arab context, on the occasion of the holding of the Arab iteration of the ongoing DO IT publication and exhibition project originally conceived by Christian Boltanski, Bertrand Lavier and Obrist in 1993. The book DO IT بالعربي includes a selection of previously published instructions and over 70 newly commissioned artist instructions including those of Etel Adnan, Mona Hatoum, Susan Hefuna, Hassan Sharif and Rayyane Tabet that anyone can use to make a work of art. Essays by Adila Laïdi-Hanieh and Kaelen Wilson-Goldie and a conversation between co-curators Hoor Al Qasimi and Obrist contextualise the project and its 2016 iteration in Sharjah.
Conversations with Mother Artists on the Dynamics of Support in India
Routledge eBooks, 2022
The conversations in this chapter look at the maternal and artistic roles of two women artists born and living in New Delhi, India. Shobha Broota and Pooja Iranna, a mother and daughter who are both artists, discuss support structures and their personal perspectives on the choices they have made in relation to their mothering and art practices. The two women artists share their challenges and explore the dynamics of the inter-personal relational support that enables their studio practice Shobha Broota has worked as an art educator at Triveni Kala Sangam (Triveni), a prestigious art centre in New Delhi. Triveni was also the location of her studio and her home, which she shared with her former husband, Rameshwar Broota (also an artist), and their two daughters, Pooja and Sakshi. Triveni provided the backdrop against which Pooja and Sakshi grew up, immersed in the world of art. For Pooja Iranna, now also an artist in her own right, Triveni became a springboard to propel her towards her own artistic practice. The conversations with Pooja Broota took place on 9th and 13th July 2021, those with Shobha Broota were on 16th July 2021. All took place on Zoom. A conversation with Shobha Broota Shobha Broota (born 1943, New Delhi) is an alumna of the College of Art, New Delhi. In a long and celebrated career, she has worked in several genresfrom her early portraits, to woodcuts and etchings in the 1970s and 1980s, to paintings in oil and acrylic in which she refined a minimalist, abstract idiom. More recently, she has produced canvases wrapped in fabric, thread, and wool; these are hand-knitted, crocheted, and stretched to create intricate grids and patterns. Shobha's abstract forms have a tranquillity and deceptive simplicity, her lines have rhythm and subtle movement, her colours have a rich resonance, and her surfaces a texture that is complex. Ruchika Wason Singh: Our discussion today is about motherhood, art practice, and the kind of support system that women artists would like to have, and which they received or did not receive. I want to know your
Bypassing the Gatekeepers: A Conversation with Jari Jat Jacob on his Art Workshop Encounters
Festschrift in Honour of Prof. Jari Jat Jacob @ 60, 2020
This paper looks at Prof Jacob Jari's workshop activities as he turns 60. Often times, the art historian rides on the faulty assumption that the artist should be spoken for; thereby masking the voice and perspectives of the artists with theirs. In a bid to correct this erroneous practice, this paper shares the stage with the artist - the subject. thus the paper presents the interview held with the artist, who is also an art historian of repute.
The Bridge between Popular and Elite Iran: Mahmoud Farshchian’s Painting
This study tries to investigate the reasons behind the popularity of Mahmoud Farshchian’s (1930-) Persian Miniature Painting (Negargari). As the founder of Farschian School in Negargari and the winner of national and international prizes, he is a canonical figure in current Persian art. His paintings are broadly narrated by different generations, political fractions, and religions in pre and post-revolution Iran. They are borrowing from long-lasting narratives in Persian classic literature like Hafiz’s love poetry, Rumi’s mysticism and Ferdowsi’s epic. To attract vaster audience, Farshchian is relying on both pre-Islamic and Koranic narratives. The story of King Solomon, Josef, Moses, Abraham, and archetypal images such as Savior as well as the passion of Muslim saints are portrayed in his paintings. He is also the focus of media because of membership in the committee supervising the construction of Shiite’s holy shrines, his artistic donations and designing the Islamic tombs (zarih). More than ‘syncretism’, the mutual accommodation of Persian and Muslim tradition, his work is serving as a bridge between the Western surrealist painting of 20th century, Chines painting, and Persian illumination of Medieval Iran; thus, they attract the attention of traditionalist and Modernist audience. The fluidity of picture-frame, dynamicity of colors, and his devotion to Persian Eslimi, spiral and curvature lines, amalgamates the classic and the modernist elements. Keywords: Mahmoud Farshchian, Persian Miniature, Negargari, Eslimi
Art For the Cause of Emerging Artist
Art philanthropy is an obscure concept in India, yet, last year(2014) ten prominent contemporary artists donated their works to support an artist residency association. This article tries to understand patronage art has received from erstwhile Maharajas and government's neglect towards cultural responsibility.
Notes on my works of art - Khairat Al-Saleh 1939-2014
A Short Artistic Autobiographical Foreword, 2020
A Short Artistic Autobiographical Foreword This preface to the story of my art is not autobiographical in the proper sense since I shall concentrate not on the chronological events of my life but rather on the development of my intellect and artistic awareness. Thus, the temporal and the sequential are only significant in relation to how much they can shed light on the crystallization of my aesthetical self and the shaping of my creativity. Throughout my life I never cared enough for the march of ordinary life, including mine. I do not know whether it is a great failing of mine or the source of my strength that I have always strove to live with the essentials. I looked down at what I regarded as frivolous and always asked too much of myself. I missed out on the simple pleasures of childhood and the antics of adolescence. It might be that the exodus from Jerusalem and the plight of the Palestinian people had killed my childhood stamping my whole being with the tragic and instilling a very serious streak into my personality, in addition to a powerful sense of responsibility towards the well being of the world. Hence forth the horrors of violence, dispossession and alienation, as the Palestinians suffered, made me a seeker after that which violence cannot touch. My young innocent self, outstretched and tormented by the suffering of others, made a leap towards an unknown fraught with light and the colours of the rainbow, an unknown shaped out of peace and beauty to ceaselessly search and yearn for. I inherited my verbal and artistic abilities from my parents. My mother was a woman of rare wit and sparkling sense of humour. She learnt English at the American Junior College in Beirut and taught English in Jerusalem then in Damascus. She also worked as a broadcaster in Jerusalem where I was born and wrote short stories for the BBC World
The Qualitative Report, 2008
This study is situated within a self-study research methods course to scaffold doctoral students' explorations of the intersections of their culture, and research interests using arts as a tool. Embracing the arts as a research method, the first author painted a self-portrait using the vibrant colors of Madhubani art which holds cultural significance to her. She utilized Blumer's (1986) and Mead's (1934) theory of symbolic interactionism to explain the process of her self-development as a researcher. Combining her self-portrait with an earlier research study proved valuable as a conduit for understanding and interpreting her work as a research methodologist. This study is valuable to others interested in studying their practice and research identity through an arts-based research method.